kippurbird: (Alec Sitting)
Weird things you learn about your characters. Alec ([livejournal.com profile] alec_troven is terrified of Peeps. He is convinced that they are evil. Not that this will have any impact on his novels as peeps do not exist in his world, but his meta self is rather scared of them.
kippurbird: (Fantasy writers)
About two years ago I wrote this list of things I think fan girls will do to my world. While rereading it on a lark I discovered several entries were no longer true:

* Alec falling for someone who is not Verra
* Jono really loves Alec and is nice to him
* Jono's really a nice guy
* Evil Verra
* Verra abuses Alec
* Verra/Lorac
* Jono's an asshat... wait.. he already is one... never mind.

See canonically now, Alec is no longer in love with/married to Verra, as she's been replaced with Jono. So fan girls making Jono really loving Alec and being a nice guy is canon. So, they'd be keeping him in character. As long as they also keep him an asshat. As much as Jono cares about Alec, he is still an asshat. I don't know why, but he is. Ah well, that's characters for you.

As canon has changed, I provide for you a new list

List of Fanits modifications to canon )
kippurbird: (Writer at work)
Stories are strange things.

I'm working on my NaNo (almost 47K as we speak :D ) and discovered a strange problem. The novel is an expansion of a short story I wrote called Call of the Champion. In it the main character Alec retrieved a magic sword and became an emissary of the Fey. In the expanded novelized version, I worked in several plots that have been bouncing around involving Alec -including a trial where he almost loses his magical abilities and his relationship with Jono, the Oracle (Jono was a complete and utter surprise which shall be discussed later), I had started CotC at least three times as a novel, but never found it satisfactory in the way it flowed. The story lagged and nothing happened. Every time I started it at Alec's childhood and started to work my way up from there. Around the same time, I started playing around with another character from the short story, Marlina. She is the previous owner of the sword. In the end of the short, she passes the sword and duties onto Alec. As I played with her, I slowly began to realize she was a very important character and started to try and write her story too. Nothing worked, however.

Then one night, I had a brainstorm. Those are always fun. It's like an epiphany where suddenly everything becomes clear and you know exactly what you need to do. I needed to intertwine the two stories. I needed to show how Marlina ended up at the point where she had to give up her weapon and Alec got to the point where he received it. So I end up telling a story of the ending of one era and the beginning of a new one. Upon realizing this is what I was going to do, I knew I couldn't start in Alec's childhood and bumped him up to his late teens when he would receive the sword. The loss of telling Alec’s childhood made the story that much tighter and more exciting as well as seeing Marlina’s own adventures, allowing the reader to learn exactly what the duties that came along with the sword and the price the bearer paid for the power.
Finally I was ready to bring the two stories together. And Callooh Callay it actually seemed to work! Then I ran into another problem. (Stories are full of them, aren’t they?) As I started the second half I began with Alec retrieving the sword. And I figured once he did that, he could be trained in its use and then be sent out to go back home. But as I wrote this, I realized that I had nothing to work up to after he retrieved the sword. Sure he had the training, but there was no big climax. Turning this problem over in my mind I figured out that I had to reverse the two events. Alec needed to train to become ready to try and receive the sword. Thus tension would be provided as he and Marlina trained together and see if he may or may not actually get ready in time and it would build up to the final moment of his eventual triumph of getting the sword. From there he could leave and go back home and Marlina could go off to her own destiny. (She dies horribly. D: ) This reversal also allowed me to explore several more aspects of the Fey in
Alec’s world that I’ve always wanted a chance to do.

Such reversals and changes are one of the reasons why I never stick to a tight outline. I plan out major events that I want to happen and then let the characters take me where they want to go to achieve those goals. Two characters in CotC surprised me greatly; one because of a complete and utter personality shift and the other in his willingness to die.

In my first early drafts of CotC the character of Jono was Alec’s lover but a very evil and abusive towards Alec. I originally was going to have Alec kill Jono to make him free of Jono and the past that he held with him, showing that Jono no longer had a hold over him. But every time I worked on it, I couldn’t work the scene out where Alec could kill Jono and I couldn’t figure out why Alec would stay with Jono or why his siblings would allow him to do it if he was being abused. Alec’s personality made him unlikely to stand the abuse and would fight back; unlike I as had been writing him as totally passive in their interactions.

As I started writing this new draft something happened to Jono. He wasn’t an evil or at all abusive towards Alec. Possessive as all hell, but he also genuinely cared for him and supported him. Alec turned to him constantly for comfort. As I started to write this, I thought, oh goody now it’ll be more tragic when he is killed by Alec. But then as I continued, I still couldn’t come up with a good reason for Alec to kill him. Originally I had planned for Alec to kill Jono and then meet up with a dragon named Verra Rose who he would eventually fall in love with and marry. But Verra and Alec’s relationship never quite worked for me either. When that thought came to me, I realized that Jono had taken Verra’s place. I had no need to kill him, because had taken the traits that I wanted Verra to have in supporting Alec. This isn’t to say that I’m going to abandon her character all together, but the two of them always worked better as partners than lovers. I had just arbitrarily said that the two of them were in love but could never make the two of them actually be in love. Alec always seemed to drift more to men and to Jono.

The second character is Darian. He’s a companion of Marlina’s. A ladies man and general good natured rogue, Darian always survived whatever trouble got thrown his way and with his horse too. Trouble just slid off him like water on a duck’s back. I had Marlina and her companions going to a different world in the course of her story and as I planned out the events Darian quietly told me that he was going to die in the big battle. At first I said what big battle? And then I looked at my notes and realized that yes, they were going to be heading to a fight. I needed one of the five weapons to be lost off world for the events in the third book and the only way that would happen was if one of the weapon bearers died off world and Darian volunteered… practically insisted that it be him. His loyalty to his horse, he said, would be his undoing. He ended up running off to find his war horse making Marlina order the rest of them to leave him behind – a defining character moment for her- sacrificing one for the good of the many. And though he made a heroic charge towards freedom and home, he never made it, Marlina seeing him die in a horrible and tragic and stupid way, letting her see the result of her choices. And letting his death haunt her and affect her training of Alec later.

I know that if I had stayed with my original plans for both story and characters the story would have continued to stall and then later the character actions would be false and forced. This is, to me, one of the joys of story writing. Seeing how characters and events evolve and change into something more interesting than you ever realized.
kippurbird: (Clue By Oar)
Rper's are strange. At least the group I'm currently talking to and they remind me horribly of Paolini. There's an OOC community and on that community I posted the question, "Just out of curiosity, but has any other muns have the problem where you say your pup is going to do one thing and they just kinda give you the finger?". I realize now it was horribly vague and I should have worded it better. But I've always been of the opinion that if you have your character well done and fully realized that they'll react to situations as they should with out you, the writer, having to consciously say "This is how they will react."

I also am of the opinion that the characters will speak to me. The most recent example of this being when Darian told me he was going to die. I didn't want that and I didn't even think that would happen. I wasn't even planning on it. I knew that I had to raise the stakes somehow and was trying to think of a way to do it and apparently a character death was the way to go and apparently Darian was the one chosen to do it. But as I was writing and these thoughts were tumbling through my head I came to the realization that Darian would be the one to die. Perhaps it was because I felt that I couldn't do any more with his character or a whole host of other things, but to me, it felt like told me this is what he was going to do, and I listened to him, as reluctant as I was to kill him off.

If we recall in a certain Paolini interview (which I cannot find right now) he said that one of the things that he enjoyed most about writing was the fact that he could play god with his characters. And we've seen how flat and horrid they've turned out. Most of the responses I've gotten from the other muns are things like, "No, because they are the direct result of my conscious decision-making." or

"...I hate to break it to you, but that's all your own conscious decision-making. Since, you know, your pup isn't actually real? And is just a fictional character that you, the person at the keyboard, are dictating the actions of through a series of developmental events and established characteristics/traits? (That you, yourself, also made up.)

And if your character 'decided' to 'not forget the Nexus', that doesn't mean he's got a mind of his own. It means that you realized partway down a particular characterization path, the retcon or whathaveyou was a seemingly bad idea or difficult in some way, or things just weren't working out the way you imagined. Not him. You.

Because PROTIP: our characters are not real.


Of course, what I wanted to say "Of course our characters aren't real you stupid idiot I never said that they were, I just meant that they sometimes go in directions you didn't expect them to go, and I put it in a vaguely amusing way to make discussion." But I'm in enough hot water as it is in that group and didn't want it to devolve into a flame war.

But still, the fact that they keep on having to harp on the idea that the characters aren't real and that YOU the mun make the decisions make me feel that they aren't listening to their characters. The fact that they have to make CONSCIOUS decisions on what their characters have to do means that they don't really have their characters down. They don't understand that you don't have to make every decision consciously. If you know the characters well enough they'll do it or you'll make their decisions unconsciously. It's not something you need to stop and think about.

Strangely, most of the people who are having issues with what I said about the characters making decisions for themselves are people who I've had trouble with in the past. We just don't seem to have the same outlook on things apparently. And I think they're so intent on their characters being "puppets" that they forget what makes a good character. I never really like the term Pup and have trouble using it. I prefer using character to pup. And I never really liked RPing with them either. Their characters never seemed to know how to react to mine who were at times rather spontaneous (With Alec more than sometimes) and didn't react to things in the Expected Way. (Expected way is boring anyway.)

Most writers I've talked to say that a good writer is someone who listens to their characters and do what their characters tell them. In no case to they say that their characters are alive but the do somehow indicate that they've "evolved" to such a point that they don't need to think about how a character would react or what they do. They are a fully realized fake person.

What are your thoughts on this?

I'd post a link to the discussion but I can't link to it here. If people want, I shall do it later.

Minor edit of amusement. I think some of the people are surprised that I'm agreeing with them on some points and not devolving into a horrid flaming bitch of you don't agree with me so you obviously don't know what you're talking about. They keep on trying to prove me wrong or something, and I'll agree with them on some points and try and logically explain my points. But then again, I thrive on this sort of shit. I'm also a sick, sick person.

February 2016

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